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Abstract

In an interactive system designed to produce music, the sound synthesis engine and the user interface layer are fully integrated, but usually designed in parallel and in a modular way. Decoupling the interface layer from the synthesis engine, not only allows the use of best suited technologies and programming languages for each purpose, but also enhances the overall system flexibility. This paper discusses the idea behind a remote user interface and a processing engine that resides in a different host, taken to the most extreme situation in which a user can access the synthesizer from any place in the world using internet technology. This paradigm has promising applications in collaborative music creation systems for geographically displaced communities of user. The Public Sound Objects is an experimental system on which this concept is applied, and its currently under development at the Music Technology Group of the UPF in Barcelona.

Citations

...ess to cutting edge applications, derived from research at the institute, in a simple and effective way. With this project it was possible to have a web front end to Spectral Modeling Synthesis (SMS) =-=[5]-=- technique, based on Musical Sound Modeling with sinusoids plus noise, which has many scientific and artistic applications. Yet, these systems differ from applications oriented towards music performan...

...nd Transformation Engine is designed in a rather general way allowing its versatile use for different applications. The core technology runs under Linux OS and is based on Miller Puckette’s Pure Dat=-=a [10] -=-ported to Linux by Günter Geiger, following the implementation design of Serji Jorda's FMOL [11] synthesis engine. The central installation will be located in a dedicated room, which can hold several...

...rials provided to the users for manipulation during a performance are Sound Objects. The definition of a Sound Object as a relevant element of the music creation process goes back to the early 1960’=-=s [8]. Accord-=-ing to Pierre Schaeffer’s, a Sound Object is defined as “any sound phenomenon or event perceived as a coherent whole (…) regardless of its source or meaning” [9]. From a psychoacoustic and per...

...music performance by the fact that they don’t provide synchronous nor realtime interaction. 2 Virtual Music Instruments in the Network A Virtual Music Instrument (VMI), as described by Axel Mulder i=-=n [6]-=-, aims to provide a way to control parameters of sound synthesis in an expressive and artistically meaningful way. This requires a degree of synchronicity between a user action and its effect on the s...

...rent applications. The core technology runs under Linux OS and is based on Miller Puckette’s Pure Data [10] ported to Linux by Günter Geiger, following the implementation design of Serji Jorda's FM=-=OL [11]-=- synthesis engine. The central installation will be located in a dedicated room, which can hold several people. A video projection shows a local representation of the user interface, displaying graphi...

...nvironment focused on sonic arts and music creation, currently being developed at the Music Technology Group of the Pompeu Fabra University. A preliminary specification of the system was published in =-=[7]-=-, and the first prototype was implemented by the authors in December 2002. Conceptually, it explores the notion of a shared web space for community music creation, and of an art installation that brin...

... last few years, such as the project started 1995, with the support from Sun Microsystems, at the Institut de Recherche et Coordination Acoustique (IRCAM) concerning the creation of an on-line studio =-=[2], -=-based on client/server Web technology. The main purpose of this project was to provide access to some of IRCAM’s sound databases and sophisticated sound-processing tools like the phase vocoder SVP. ...

... goes back to the early 1960’s [8]. According to Pierre Schaeffer’s, a Sound Object is defined as “any sound phenomenon or event perceived as a coherent whole (…) regardless of its source or m=-=eaning” [9]. -=-From a psychoacoustic and perceptual point of view, Schaefer’s definition is extremely useful, since it provides a very powerful paradigm to sculpt the symbolic value conveyed in a sonic piece. In o...

...user to have an individual work-station with the required computing power for the studio applications. Recently this project evolved to the On-Line Sound Palette application under CUIDADO’s framewor=-=k [3]-=-. A similar project was started in 1997 by Ramon Loureiro and Xavier Serra [4] at the Audiovisual Institute from the Pompeu Fabra University in Barcelona, but with a slightly different scope. The syst...

...the studio applications. Recently this project evolved to the On-Line Sound Palette application under CUIDADO’s framework [3]. A similar project was started in 1997 by Ramon Loureiro and Xavier Serr=-=a [4]-=- at the Audiovisual Institute from the Pompeu Fabra University in Barcelona, but with a slightly different scope. The system provided a remote interface for a sound database and signal processing, but...

...oad spectrum of users, somehow resembling Sun Microsystems’ concept of “Nomadic Computing” introduced in the early 90’s (i.e. where a network user moves and his familiar work environment must =-=follow) [1]. -=-These tools are either dependent on special purpose hardware or based in proprietary experimental systems developed by companies or research groups. Hence these systems’ topologies are normally cent...